According to the cast reported in Armide. Tragédie Lyrique de Quinault (Partition Piano et Chant Réduite et Annotée par F.-A. Gevaert), Paris/Bruxelles, Lemoine, 1902, p. XVII (copy at Internet Archive).
Théodore Lajarte (1878). Bibliothèque musicale du Théâtre de l'Opéra, volume 1 [1671–1791]. Paris: Librairie des Bibliophiles, p. 318 (Copy at Internet Archive).
Fétis credits the authorship of this 'intermède' to the Bohemian musician "Antoine [Anton] Mayer" (Biographie universelle des Musiciens et bibliographie générale de la Musique, Tome 6, Bruxelles/Mayence, Meline,Cans & C./Schott, 1840, pp. 334–335, accessible online as a Google ebook-gratis); a coeval report of the performances, however credits it to a "M[onsieur] Mayer, highly respected teacher of harp", thus possibly Jean-Bernard Mayer, a German harpist, who was also active in Paris in the same period (Mémoires secrets pour servir à l'histoire de la république des lettres en France, depuis MDCCLXII jusqu'à nos jours..., Tome 15, London, Adamson, 1781, accessible online at Gallica – BNF).
L'instituteur national, No. 129, 9 Floréal An III (Tuesday, 28 April 1795), pp. 308-309. Copy at Gallica. Also quoted in de Goncourt (1885), p. 269.
books.google.com
Fétis credits the authorship of this 'intermède' to the Bohemian musician "Antoine [Anton] Mayer" (Biographie universelle des Musiciens et bibliographie générale de la Musique, Tome 6, Bruxelles/Mayence, Meline,Cans & C./Schott, 1840, pp. 334–335, accessible online as a Google ebook-gratis); a coeval report of the performances, however credits it to a "M[onsieur] Mayer, highly respected teacher of harp", thus possibly Jean-Bernard Mayer, a German harpist, who was also active in Paris in the same period (Mémoires secrets pour servir à l'histoire de la république des lettres en France, depuis MDCCLXII jusqu'à nos jours..., Tome 15, London, Adamson, 1781, accessible online at Gallica – BNF).
Editors not stated (1789). Abrégé du Journal de Paris: ou Recueil des Articles les plus intéressans insérés dans le Journal, depuis son origine, & rangés par ordre de Matières, volume 2 – second part [1777–1781]. Paris: Journal de Paris, pp. 1248–1249 (Copy as a Google ebook-gratis).
Smithsonian Cooper-Hewitt, National Design Museum. "Waistcoat, 1785–95". Smithsonian Institution. Retrieved 25 October 2013.
doi.org
Beik, Paul (1951). "The comte d'Antraigues and the Failure of French Conservatism in 1789<xref ref-type="fn" rid="FN1">*</xref>". The American Historical Review. doi:10.1086/ahr/56.4.767. ISSN1937-5239.
The nucleus of this account is to be found in Clayton (1863), p. 129; also in Gaboriau (1863) pp. 206–209. It was later repeated by Jullien (1880) p. 125, and is followed, in its essentials, by Pitou (1985) p. 483, and by Julian Rushton for his Saint-Huberty contribution in Grove Music Online. Oxford Music Online. Oxford: Oxford University Press, accessed 10 October 2013. http://www.oxfordmusiconline.com/subscriber/article/grove/music/16390
Dorlan (1932), pp. 25, 27. The photograph, by Eugène Muller [fr], probably dates from around 1900.
worldcat.org
search.worldcat.org
Beik, Paul (1951). "The comte d'Antraigues and the Failure of French Conservatism in 1789<xref ref-type="fn" rid="FN1">*</xref>". The American Historical Review. doi:10.1086/ahr/56.4.767. ISSN1937-5239.
